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00:31:00

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San Francisco, CA, USA

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Comcast Cable

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Channel v78

VIDEO CODEC
mpeg2video

AUDIO CODEC
ac3

PIXEL WIDTH
544

PIXEL HEIGHT
480

TOPIC FREQUENCY

San Francisco 7, Ireland 3, Local Economy 2, Puc 2, Amsterdam 2, Us 2, America 2, Wisconsin 2, Doug 1, Gascon 1, At&t 1, La Ball 1, Unflepin 1, Expedition 1, Steven Orts 1, Tj Clark 1, Lonkini 1, Snosa 1, Newsom 1, Asman 1,
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  SFGTV2    [untitled]  

    October 30, 2013
    11:00 - 11:31pm PDT  

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hair and makeup industry. there is a lot of money in that industry, and you don't need a college degree. you just need a passion, an art form, an outlet. invalidating it and creating pathways for young people to go down those paths, you want to become a nurse, here is a course at the southeast college to take you down that course. you introduce these ideas to students while they are in high school, when they are still engaged, when they have not disassociated. we will see more african americans becoming more involved in education. he used to be the police chief. now he is the district attorney, gascon. he had an idea about a junior academy that would take san francisco eans and give them
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skills to get into the academy. you can make a great living as a police officer. the same notion with the fire department. these are careers you don't normally think about when you are in high school. you often are relegated to a path to go to a four-year university. that is not for everyone. there is an opportunity for everyone to work. that is the main point i am trying to drive home. when we talk about the issues, the one that stands out for me is education, economic and work force of the element, stimulating the local economy. we have the third street merchant corridor and an opportunity to revitalize what i consider to be the main artery of the bayview district, of the southeast quarter. third street is a pretty long streak. from at&t park, it goes all the way to candlestick park.
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there is a lot of opportunity. don't squander that. we wanted to be a healthy mix that reflects the cultural history of the southeast part of the city. >> what are your thoughts on how the city can deal with the budget issue? >> we are in a very difficult time financially as a country, as a state, as a county. we have a multimillion-dollar deficit. what i see is we have competing priorities. >> ok. >> there's a whole host of non- profit and service organizations that provide a service and a social safety net for people. if people are not able -- they're not making money to get on calworks, or they get on aid, we cut that aid, that has an adverse affect on a population that needs it. i would like to see the city continued to move in a direction where we are prioritizing when
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it comes to our budget, our budget strategy. i was fortunate enough to be named to the budget -- i was not fortunate enough to be named to the budget committee. i will exercise my voice to guide us through this precarious system. i think we need to have a serious conversation about pensions and supervisor elsbernd carries a torch on pension reform. there have been other discussions about pension reform. our city assessor started the conversation about prop. 13. there are several things in place on the state and local level having an adverse affect on our financial health locally. we are in a quandary. we cannot really move beyond that until we remove the pocket. prop. 13 is a serious block. it would free up hundreds of
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thousands of dollars that could be brought into public schools and could also be in fused in our local -- infused in our local and state economy. that is a very complicated question, and one i have only brush the surface on. that is another segment. >> we will follow that by another complicated question. i would like to get your thoughts on homelessness and what the city is doing about homelessness, what direction you think we should be headed in, a big issue in san francisco. >> homelessness is interesting. when you look at it as a sociological perspective, we have some of the people in the homeless community enjoying being on the street. others want help. i think when we also -- we need to do a better job of taking care of those mentally ill. when you are on the street and
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you listen to the homeless folks or you watch them interacting, you see they are a little disturbed. i think the city overall has done a good job in terms of housing and taking them off the street, providing services. mayor newsom started a private -- program connecting members of the homeless community to services, dental, vision, therapy, housing, mental health. these are things that you and i probably take for granted. we have access and resources we can leverage. this community doesn't. in the southeast part of the city, we don't have many homeless facilities. there is one that i know of, providence baptist church. every night, i have seen this line wrapped around the corner. it is cold. this is a men's shelter in particular. they're coming in, they are on
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a floor of a gymnasium. we are not talking a lavish existence. four seasons here. definitely, i think we are a very compassionate city and just continue to extend the compassion to the homeless community. >> what is happening with crime in your district? how do you think the police department is doing to address the issue of crime in district 10? >> statistically, we have a lot of crime. homicides, there were two in the last week in my district. i am vice-chair of the public safety committee. safety and how we define safety, not just in terms of crime, but over a public safety, is something that is very important and one of my priorities. what i would like to see is more of a community policing approach. maybe engaging more the community.
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that includes organizations like safe, which is a neighborhood- based organization. neighbors get together and they're watching the streets, giving information to the police department. think about taxicabs. they are all over the city. they can be the eyes and ears of the police department if trained properly. we can also better utilize the sheriff's department. it has the same training as members of the police department. i think we could have a healthy conversation in considering partnering -- creating a stronger partnership with the sheriff's department. overall, crime, yes. we need to reduce the number of homicides. we need to reduce the number of aggravated assaults, petty crimes, misdemeanors. i do get my fair share in my district. that is one issue that is universal between safety and education. everyone is very concerned about
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it. >> talk to me about the progress on environmental cleanup in the areas of san francisco where that is a growing concern. >> you know, in san francisco, specifically in the southeast quadrant, san francisco is the industrial armpit. we have got the two major toxic sites, we have the shipyard and the lock site. both of those toxic chemicals that are still in the ground are from earlier activities, business activities. we also have the puc, the water treatment plant, in the district. for me, the quality of the environment is very important. it is a direct relationship with the high breast cancer rates, a
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cancer rates in particular, but also breast cancer, and to some degree childhood obesity, there's a correlation between the environment people are growing up in. when we talk about my legislative priorities, the environment is also on that list of priorities. minimizing asthma, maintaining the asman task force, that we will keep implementing that my predecessors started, educating people on healthy lifestyles, exercise, healthy diet. we talked about the environment. it is about the food we are taking into our body, our stress level, and a component that is not often discussed as our mental health -- is our mental health. mental health and physical health factor into the environment that people are living in. it is in their home, it is in the neighborhood, it is the whole southeast quadrant.
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any way you guys sit up, we have had our disproportionate share -- you dice it up, we have had our disproportionate share of problems that are happening. the policies and priorities of the city have been implemented. we have an opportunity -- this goes back to jobs. the puc will have a billion dollar project of rebuilding the digestors, the waste water management treatment plant in the district. making sure that people are hired from the neighborhood for the project, a pathway to a career that will be sustainable, and one where people can provide for themselves. they put money back into the local economy. they are buying houses, paying taxes, money is going into the school district, kids are being educated. we are raising help the community. >> thank you so much for joining us on sfgtv's "meet your
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supervisor." we will be back with another one of our 11 supervisors. >> a few years ago, i attended a public event at sfaliason, i don't know if you were there but it had a huge impact on me. i went to hear alaferalaison speak and instead a heard a
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neuro biologist and a snow flake scientist and tj clark who is an arc historian. it was amazing, it was the most amazing night. and we have actually modeled our public programs off of that event ever since. we like at the arts commission to broad a broader dialogue around the works that we show. not just having the artists themselves present, but to present different ways of thinking about their work, different ways of thinking about contemporary art in general. and leaving you thinking, as you leave. so, tonight we have someone from young and we have a photographer who is not in the show, alongside of our current existing artists. if you like this program, you will like other things that we do in terms of our public programs. tonight, we will hear our featured artists and then from
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the invited guests who i will introduce. if there is time i will direct a couple of questions in their direction. there will be no q, and a, tonight this program was not designed as a dialogue and we hope that you will attend before it closes. we are going to start with the artists. brenda, snosa who is in the blue shirt, he works in amsterdam and received his ba and his ma in 2005 from the frank mart institute in holland. he has exhibited in tipai, pa ris, and many others and now san francisco. last mobsinger he opened his first large scale solo expedition at land of tomorrow in kentucky, which i didn't know about. i encourage you to look up that institution.
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it is an incredible, incredible space. and program. his work resides in the sachi and smithsonian and others. he has written about in art publications his work was recognized by time magazine as one of the top ten inventions of 2012. it is represented by lonkini gallery in london and now i would like to have him come up and speak. [ applause ] i'm benat and based in amsterdam and i want to show you some works. so, my work and installations,
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and sculpture and photos and site and working on the architecture or the history of the location. i am interested in a motion of friction between construction and de, construction and the physical state of a building and a moment of revolution and perishableness and in these transitional situations you are not sure what you are looking at. nor this is as a clear function yet and therefore it is opened for interpretation and it is really interesting. and this work broad art, it is really the space that is important. because it is the location the museum that gets the contexts to just change the interpretation of this painting while it is resting against the wall for a brief moment. and i will... yeah. so often work with the situation to do with duality
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and the question inside and outside and size. the function of materials and architectural elements. yeah, i find it interesting when a work comes in between reality and representation and it will in the end not really function and that is also a good example is also the work in the show at the gallery, at the moment. and so, this work is in the street view and then in 2009 i participated in a residency in ireland. and when i looked for information, i was directed to wisconsin. and so it is one of the oldist towns in ireland and around the 1940s a lot of irish people immigrated to the utah and a
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few set up in newtown, in wisconsin. and in the google maps you will find the street view and the first building that you see is a barn, a typical barn. and i find it interesting that out of everything in town that has not been photographed by google yet and also this idea of when you are looking something original, you find a certificate. and so, i copied this barn and placed this facade or prop in the most resymboling location in the original town of ireland. and the idea was we thought that the google car would come by, that this image would be picked up and the barn would exist in both. it was up for two weeks but i knew that the car was in the neighborhood. but recently i found out that after two years, it did.
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so now there is a google street with the same house. and i really like that idea of transition, where you then take an image from the internet and put it in the real world to be captured and placed back on-line so that really questions reality. so that is also i am interested in. so we go to the nibus works. and the nibus works, well on this distinct moment on a location and you could look at them as a only situation maybe? or just an element from a classical painting. but what i am really interested in, and the temporary aspect of the work so it is just there for a few seconds and then it falls apart and so the work exists, the physical aspect is important but the work exists as a photograph.
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and this photograph, for instance, as a document of something that happened in a specific location. and also the space. well, for instance, basically as a photo work and with every space i try to keep a connection to an exhibition space and also to the relation of the artwork. and also because, yeah, you could ask yourself that you could taste of the well exposed air basically. and so much interested in the whole process of making the clouds. but rather in the idea of the emergency of a cloud inside of a space. and, first cloudy made in the small skills space put over, which is an exhibition space. yeah, it is a small, mobile space, the walls are not higher than, think about was it three
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feet. to control the space i thought that it would be kind of the idea to exhibit the rain cloud. and also yes, you start making, and you start making the ideal situation actually. and therefore, i think that a model can only not stand for an idea. so the exhibition space into my ideal perception of a museum space which was the natural gallery in dublin. and i presented that to exhibit the rain cloud. and i really liked that, well the fleeting ideas of the work that it builds up and falls apart at the same time. so after that, i started working in the professional sized spaces. and so, yeah, your locations are important for the work and
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also well making the work in a exhibition space is also putting it in legalsing to art and history of that spacing and also, like the one before in the museum space you could say that it is related to painting in that way. you could think of it maybe as an escape element from a landscape banding in the physical form. and in this case, this also, emphasizes more of the defined and fleeting context at work. so, well, yeah, but what do you see as a tleltening and a defined situation just by taking the cloud out of the context and presenting it in the space itself. besides the opportunity to take a lot of ideas on it. and all of the space i used is quite important and kind of
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most of the time we are presented this ideal space. and this was something totally different and this exhibition, i showed the work together with other works which were quite solid. and this exhibition, only the cloud exists in the form of the catalog. and in the exhibition it is gone. but, i make the clouds with the combination of smoke and (inaudible) and as we space it works different. it is more industrial space. and also, here it is like a better situation than like an art typical cloud, almost. but, boy, to do and on my research on how to make that, i run into this material called aro gel.
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and it is calls frozen smoke and it consists of 99.8 percent of air and the lightest solid material on earth and i used it for collect interstellar dust and it has a beautiful shine and you could look right through it. and so what i did is i put it on small models of exhibition sprays and it shows the same idea and you don't basically err on an empty space. and thes artificial material and it is just a little bit more dense than air and so, that space and therefore it redecember pells also and presents also the idea that our human urge to compete with nature and yeah, that is what i think is interesting about it. so, other than that, i work and
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i like the materials and i work with construction materials and artificial elements. and this work, the continual work p they exist of the galleries and the relationship. and even through the gallery and what it does is confer to be a gallery referred to the enterceptic air, with the hospitals and sickness and deaths maybe. and then you will notice this air is clean and safe in any materials and therefore you start to question the space as well. is it safe here? are you truly safe? what is this place trying to protect me from? and so this work is really valid. and so this piece is called unflepin and i projected a spectrum on to a landscape and make it even more desirable and so the suggestion is that it
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can be seen as a promise or perfection, but by turning it upside down you start to question the values again and so, again that is changing and so the ideal landscape can also be interpreted as a optical image maybe, and then this past image really shows the detail of almost of it off the anchor. and it is not that i am really interested in the nature, it is more like the ungraspable aspect of nature that i find interesting and all of the meanings and the myths that people have created for them through time. and i work with that. that is it. >> hi, so next up, i am going
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to introduce, doug record who was born in san jose and study history and sociology at ucsan diego in 1994. he is the founder of two web sites, american suburb x, founded in 2008 is an ever growing ar khief and fiercely edited work at photography's past rapidly shifting present and dramatically unfolding the future and these americans, which is an american historical and cultural archive organized by theme. the recent one is pictures by google's street view. the images capture sites of america where rates of poverty and unemployment are high and educational opportunities are slim. photographs from a new american
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picture were included in the new photography 2011 exhibition at mona in new york. and also has been seen at exhibitions at la ball in paris and pier 21 here in san francisco. a monograph was published in 2011. and it is represented by local galleries and sf galleries would like to thank steven orts and the staff for the support of this event. we asked doug to speak today in order to draw threads from his work until asketon has street view which is currently on view in the gallery. doug i will turn it over to you. >> thanks for coming. i appreciate it. i am looking forward to giving you some details on this. i have 15 minutes, so i am not going to talk about all of them.
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there are so many layers of consideration to this and each of these areas could sort of veer off into its own talk and so i am going to talk to some of the things that may overlap with aaron's work. and i want to go through the pictures and let you look at the pictures and absorb sort of what they mean and how they impact you. the pictures speak volumes and i think that you will get a lot just by absorbing that and so wait that these were made, they were made through street view. i took a three-year period, started in 09, and basically explored our american cities in depth. and granular fashion, neighborhood by neighborhood, not every city, but places that i was interested in looking at. and i started making pictures and amasked the large archive,
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probably 10,000 images that i made throughout this period and i widled it down to around 80 to make this work. i will describe some of the dynamics of street view and sort of the implications. so we sort of now at this point firmly that photography only is partial truth. it really is affected by so many variables that you get half truths and half varying context that some of which you bring in yourself. but what happens is the photographer takes a moment of time, in this case one second in a place and we are left to look at it and make assessments and judgment and make, you know, our own back story to the images and so there is an element of this that we don't really know the struting. we sort of see what we, what is in front of us. and we start to take that in
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and decide, you know, what we think that truth is. google has taken these pictures of every cinch of our country for the most part and doing it in other countries as well. some of the other countries are resisting, germany, places where there is a history of big brotheresque type of regime. but for most of america we have welcomed it for the most part with open arms. we don't see the out pouring and out cry that we see in other countries. but the cars are going around and covering a 360 degree view, every 30 feet or so. and it is really a machine making the images, i have sort of come in and hijack that machine afterwards and pieced together a narrative from within this ocean of imagery. but they are going along and taking the pictures, and building up really a virtual space from within, which i